How to Tune a Balalaika - Get-Tuned.com The most common balalaika is the prima. How to Tune the Balalaika Check out our Online Balalaika Tuner to help you tune your balalaika. The Prima The most common balalaika is the prima, which is tuned to EEA (The 2nd and 3rd string are tuned to the same note). Sometimes the balalaika is tuned "guitar style" to GBD (mimicking the three highest strings of the Russian guitar), making it a little bit easier to play for Russian guitarists, although balalaika purists frown on this tuning. The Secunda The Secunda Balalaika is tuned to AAD: (1st string: D in first octave) - (2nd string: A in minor octave) - (3rd string A in minor octave) The 2nd and 3rd string are tuned to the same note.

The Alto The Alto Balalaika is tuned to EEA: (1st string: A in minor octave) - (2nd string: E in minor octave) - (3rd string: E in minor octave) The 2nd and the 3rd string are tuned to the same pitch. The Bass and Contrabass The Bass and Contrabass Balalaika are tuned in the same fashion, just the Contrabass is bigger. They are tuned to EAD: (1st string: D in minor octave) - (2nd string: A in major octave) - (3rd string: E in major octave) Tuning 6 String Balalaikas I mentioned earlier that there are some six string balalaikas. Basically they are tuned the same fashion that 3 stringed balalaikas are tuned. The difference with 6 string balalaikas is that they have two strings for each one on a regular. For example a 3 stringed prima balalaika is tuned to E-E-A. A 6 stringed prima balalaika would be tune to EE-EE-AA. They are set up in pairs tuned to the same note to produce a harmonizing effect similar to the mandolin.

The History of the Balalaika The History of the Balalaika V. Andrejeff In the 17th Century, a certain kind of chearful people called “Skomorohi” lived in Russia. They were performers who performed around the country at fairs, weddings etc. They were performing dressed as animals, sorcerers, witches etc. The favourite instrument of these people was the domra. The performers were very popular among ordinary people but they were a thorn in the flesh of the clergy and the authorities. The clergy thought that this kind of performing was of the evil and the authorities wanted apparently to enlarge the control of the population. As the people participating in these performing troups did not have a stationary place to live and as they were outlaws (very often), the authorities decided to put a stop to their show. The Skomorohies had to move to other places in the country – away from the big cities. The instrument makers living in more populated areas lost their customers and had to quit making instruments. Then people had to build them themselves. Because of this, the shape of many of the music instruments were simplified and they were given other names.

The popular domra was more and more often made with a triangular body instead of the usual round body as it made the creation more easy. The triangular domra was given the name balalaika. There are several opinions on how this name occured, but the most possible is, that the Mongolian word “bala” and the Russian word “balakatj” mean to chat. In the same way that we say, that the violin is singing, it is said that the balalaika is “talking”. The playing method was changed too. You played the domra with a stick made of wood or with a fether from a bird. On the balalaika, you started to play with your fingers. In this way, the Asiatic domra was changed into the Russian balalaika. The first time you hear about the “balalaika” is in the 18th Century and from the same period of time, you do not hear about the domra anymore. This proves that the balalaika took the place of the domra in the musical life of the Russian people. We know a lot more about these old balalaikas than about the domras.

In the 18th Century, there are both triangular and round balalaikas. Usually, they have two strings, rarely three. In the 19th Century, it was only the triangular shaped balalaika that existed. The round ones are very rare. Usually, they are now with three strings and are equipped with five flexible bands. The strings are made of gut. The balalaikas were tuned in different ways at that time: In quarter, in fifth and in thirds. Despite its’ primitivity, the balalaika was already very popular then, and there were several excellent virtuousoes playing this instrument. For instance the famous violinist Handosjkin playing with the balalaika, and the court violinist playing at the Court of Ekaterina 2nd was known for his virtuous play on the balalaika. (He died in 1847 -100 years old). In the 1850’s, Radivilov the balalaika virtuouso was the favourite of the Moscowites. Radivilov gave concerts on balalaikas with 1 string and even 3 and 4 strings.

Later, the balalaika becomes popular among the nobility and the upperclass, and you hear about balalaika virtuousoes such as Lavroff (opera singer at the Saint Peterburg Opera), landowner Paskin and others. In the 1880’s V. Andrejeff begins to give concerts, at first solo and later with Balajkaensemble. This brief overview of the historical development of the balalaika can very well be finished with Tjakovsky’s famous words: “What beauties, these balalaikas, what an amazing effect they can give. Their clang colour is without equal. Vassily Vassilievich Andreyev Andreyev got the nickname “Father of the balalaika”. (Sources: P.Sokoloff, Mosow 1962 and A.Novoselskij, Moscow 1931 told in “Balalaika Blade” no.3 published by Evgeni Pavlovski, Copenhagen 1964).

Vassily Vassilievich Andreyev Vasilky Andreyev owned by Vasily Andreyev Language Balalaika Strings Balalaika Strings Home > Folk & Ethnic Strings > Balalaika Strings Balalaika Strings A staple of traditional Russian folk and classical music, the balalaika is a long necked, triangular shaped lute. The instrument can feature three strings or six strings with double courses, and most modern balalaikas feature steel strings rather than traditional gut strings. At JustStrings.com, we feature La Bella balalaika strings. Providing a bright intonation required for balalaika tremolo playing, the strings also have a balanced sound for strumming accompaniment. With roots dating back to the seventeenth century, La Bella is an industry leader in manufacturing strings for traditional folk instruments. Sized to fit the six different sizes of the balalaika �from piccolo to contra-bass � the La Bella balalaika string set features six plain steel strings with loop ends. The strings are double coursed to fit both the three string model, essentially providing a back-up set, and six string models.

The balalaika strings are high quality and provide the bright, crisp tone associated with balalaika-driven Russian folk music. During the 18th century the balalaika was developed from an earlier instrument called the dombra, possibly because the balalaika�s new triangular shape was easier and quicker to produce. V.V. Andreyev, a well-known Russian balalaika player, advanced its design in the late 19th and early 20th centuries with modifications that led to the six different sized instruments with different tunings. For example the piccolo tuning is B-E-A, �balalaika� tuning (most common) is E-E-A and contrabass is E-A-D. Quick Links Perestroika Balalaiki Introduction The Prima balalaika is the most common size known and is the one used as the principal solo instrument. Many other sizes exist (piccolo, sekunda, alto, bass, contrabass, subcontrabass) and are generally used to accompany the prima. The prima balalaika is tuned E-E-A and normally has 3 strings.

Four and 6-string balalaikas are known to exist but the 3-stringed type is by far the most common as they are easier to play the rapid runs required of the balalaika. Most 6-string instruments are considered to be of inferior quality. Soviet Workmanship My Russian-made (read "Soviet") balalaika was originally built in Moscow in 1981 by the Moscow Experimental Musical Instrument Factory - Moskovskaya Eksperimental'naya Fabrika Muzikalnykh Instrumentov. This balalaika was a gift from a close friend who studied in Moscow in the early 1980's and naturally has great sentimental value to me. As a budding amateur luthier I decided that I wanted to try to make some improvements to the instrument. So I decided to start by stripping it down and refinishing it completely. This process would entail performing a number of upgrades to the instrument not only to improve the acoustics, but especially to improve the appearance. The instrument was in desperate need of a new fretboard, the original was of such poor quality, with a stained, uneven surface, and soft brass frets.

Overall it is an instrument built of reasonably good quality materials, including a spruce soundboard (which was split in several places), mahogany back ribs, maple neck, bindings and purflings, etc. But unfortunately the quality of the workmanship was generally quite poor. This was especially true in the finishing of the instrument. Luckily the sound was reasonably good and the neck was straight enough to remedy without much effort. The label inside the instrument translates as follows: MMP RSFSR Main location for the manufacture of musical instruments Moscow Experimental Musical Instrument Factory Prima Balalaika Price 15r. Production Date 1981 Imagine, only 15 rubles (approximately $20 in 1981) for an instrument made of spruce, maple and mahogany! So, aside from it's sentimental value, it was certainly worth the time and effort to restore and it turned out to be a very satisfying project. You may be interested in reviewing the complete technical specifications of this particular instrument. In the beginning . . . Before we start to take things apart it is probably worth looking at a few more "before" pictures. Vasilij Vasilevich Andreev is known as the father of the balalaika.

Andreev, a wealthy landowner, is credited with reviving the balalaika by working with master craftsmen to make it what it is today. Andreev was an accomplished violinist who fell in love with the balalaika and later became a virtuoso player. He founded the "Great Russian Orchestra". Semyon Ivanovich Nalimov - the master builder who worked with Andreev to perfect the balalaika. Nalimov is considered to be the Stradavarius of balalaika makers. Many of his instruments have survived to this day. Stripping The first order of business however would be to remove everything and then strip off the orange lacquer. I started by removing the fretboard using a hot iron laid directly on the frets. I did not care about scorching the surface as I was going to discard it anyway. On the left you can see what the balalaika looked like after removing the fretboard and pickguard. It seems almost inconceivable not to finish the entire instrument before putting on the pickguard. Also, look closely at the spruce top, it's a bit hacked up. Now, on the right is the view after stripping the old finish off completely.

The 'hacking' is much more evident in this photo. The stripping is now in progress. I used "Citristrip" foam. It does a really good job and was quite easy to use. I also hoped that it would not upset the glue too much as I didn't want to get into a major rebuild at the time I started. I started out just wanting a new fretboard and a better looking finish. But, we'll get to that later. Let's take a look at several before and after pictures to gauge the progress of the project. On the left is a view of the neck after stripping, then sanding and getting it ready to stain. On the right we can see that the walnut stain will cover the joinery reasonably well. The transformation of the peghead from the original poorly-finished maple, then stripped, then new walnut veneer added, then inlayed with a Mother-of-Pearl 3-cupola logo, and finally with the tuners (temporarily) back in place to see how it's going to look. On the right is the same basic progression of the read of the peghead. The Corpus (a.k.a.

the Body) On the left you can see what the body of the balalaika looked like after stripping and sanding it. On the right is how it looked after putting on shellac and a coat of sealer. Quite a transformation from the original orange finish. My poor Pantsir' The pantsir' (pickguard, sometimes called (transliterated?) a pancer in English, although I don't know why as it doesn't conform to any transliteration system I've ever seen) needed to be stripped and refinished. Sometimes it is called a 'scratch-plate', which seems more appropriate. I originally chose to fill the grain, then spray it black and inlay five MOP dots along the edges as I have seen in so many photos of older instruments. As you can see by the center photo, it came out looking pretty nice for something that started out as inexpensive birch plywood. However, I later wrapped it in a paper towel to protect the finish and stored it away. Big mistake! The paper stuck to the finish and ruined it. I was back at square one.

I thought it might be nice to build a new one out of walnut as I was now using more walnut appointments to dress up the instrument: walnut veneer on the peghead, stain on the neck, a new pantsir' and eventually new walnut bindings. This would also give me the chance to try some more inlay as you can see in the closeup of the cupola I inlaid into the new pantsir' made from gold and white pieces of Mother-of-Pearl. Also shown is a picture of the 3-Cupola logo from the peghead. The new pantsir' came out looking nice, I sprayed a new finish on it, let it dry and then started buffing it out. It split in two along the grain while being buffed. Oh man, what a nightmare (uzhas odin)! Thank God for CA glues. I glued it back together, put a linen tape reinforment strip along the crack on the back and resanded the top. After several coats of sealer and a final spray finish you can't even tell that it broke. Another important lesson learned along the way, "how to recover from a blunder".

Some people say we learn from our mistakes, others say "as long as you don't make the same mistake twice". On the left you can see the tuners with new "Ivroid" buttons to replace the really cheap plastic buttons that were originally on the instrument. The tuners are pretty low quality and I was finally able to find a better set that would fit properly. [See The Search for new balalaika tuners ] Time out for a Stand I then took some time away from re-building the balalaika to build myself an instrument stand. On the right is my interpretation of a stand I had seen in a photo. I built it out of mahogany because I have a rather large pile of it that a friend gave me a couple of years ago. I just keep using pieces from the pile to do various projects. After building the stand I put dark brown felt on the areas where the instrument would touch. I later went on to build a similar stand proportioned to hold my baglama . The baglama is a small instrument that looks and sounds like a bouzouki. It has tremendous projection for such a small soundbox. It is rather like a mandolin relative to a guitar, double-strung of course!

The baglama was also a gift, from a very good friend who lives in Greece. It's a beautiful hand made instrument from a maker in Athens. This 'gifting of instruments' thing is starting to sound like a pattern . . . The view on the left is the balalaika all stripped, sanded, ready for the finish room (if only I had one), while the view on the right is with the various parts in place. This was to be able to visualize what the finished instrument might look like. So far, so good. Except, I had to put the project away for a while. In the meantime I put the balalaika on the stand and left it. Unfortunately I didn't think to cover it up and it turned out to be a rather drafty area not too awfully far from an air conditioner. The instrument really dried out over the ensuing months and I picked it up one day only to discover that the seams along the soundboard/binding joints were cracking and coming apart. The soundboard was also cracked in 3 places now, most notably along the center seam. What a disaster!. As they say in Russia - Uzhas Odin! But, you know, sometimes there is opportunity when a disaster strikes!

I decided that what I was going to have to do next was to remove the soundboard and completely fix it up, which was probably a good thing in the long run. It would also give me a chance to actually see the inside which up until now I had never been able to do. But, how? I spent some time looking online in places like MIMF (Musical Instrument Makers' Forum and elsewhere for information about how to get the soundboard off. I read over and over again that it basically couldn't be done easily, or even successfully without ruining the top. Given that one of my objectives was to preserve as much of the original instrument as possible, I really didn't want to run the risk of ruining the top. I took the maple bindings and ebony purflings off as I would now have to replace them. This would be my chance to make my own walnut strips to replace them with. They came off quite easily now as the glue was breaking down. Perhaps it was the Citristrip? I worked at inserting the edge of a razor saw into the cracks and gently prying to finish separating the glue that remained. One side came off easily. The other was quite a bit more difficult.

Over the course of the next two weeks I was able to pry the entire soundboard off without any perceptible damage. The braces were not as good as I thought they should be, poorlyl shaped and finished, basically just pretty rough pieces of spruce. They had to be replaced, but I didn't have any material. Ah well, time to place another order to Stewart MacDonald! Now you can see what the instrument looks like once I managed to get the soundboard completely off. Notice the left half of the soundboard on the table beneath the balalaika. You can also see that there is a lot of glue and general mess inside the instrument that needs to be cleaned up. The closeup on the right shows more detail and you get a good glimpse of the linen strips glued in along each rib seam on the inside. The original label is in good shape and just required a little bit of extra hide glue to hold down the corners where it started to come up. Take a look at the "cradle" I built on the right to hold the instrument when I want to work on it. I got the idea from Jim Flynn's article in "American Lutherie".

See "Building the Prima Balalaika" by Jim Flynn in either the Big Red Book #2 p. 178 or American Lutherie #17 p. 29. I added some pieces to it covered with felt to support the instrument since I wanted it to be a cradle and not a building platform. It serves the purpose pretty well. The soundboard and re-binding The soundboard was the section most badly in need of repair at this point. It had split along the center seam and the seam on the left. It was also cracked to the right of center, but not along the seam. All of these breaks needed to be repaired. If you click on the photo on the left you can see the darkened lines where the splits occurred. Balalaika soundboards are made in four pieces unlike the usual two used for a guitar. The width of a typical prima balalaika is approximately 17" along the base. After truing the seams and regluing the soundboard, I replaced the two crudely cut braces with three new Engelman spruce braces carved according to the Kupfer Moskvichka plan.

The Moskvichka plan calls for a diagonal brace just below the soundhole, which necessitated moving the lower brace down. After carving the braces and gluing them in place, it put a noticeable curve in the soundboard. After all was dry I noticed that it would be difficult to attach the top due to the new arch. I next figured out that I would have to build up the transom on the inner edge to support the soundboard as well as add a strip of walnut along the outer edge that would show in order to support the new bindings. These strips would both need to be tapered from 2mm in the center, down to zero at the edges. All went well as I sanded them down to very thin tapers. That is, until one of the pieces broke about 1.5" from the end. Luckily I was able to reglue it and use it instead of starting over again, and it does not show at all. I was finally ready to reglue the top. This operation was the primary purpose I built the cradle described earlier. I used liquid hide glue for this job.

Luckily I have lots of clamps as I needed extra pressure to ensure a tight fit due to the amount of curve I now had. The rubber band system I've seen used elsewhere just wasn't going to be enough to do the job. After successfully gluing the top it was time to install the new walnut bindings that I made to replace the original maple ones. These walnut pieces would look much better with the walnut peghead veneer and the new pickguard. First I laminated a strip of "ivroid" along the edge of each walnut strip, then glued the bindings into place. There was sufficient overhang to ensure that after scraping and sanding I'd have a nice tight fit and smooth looking edges. After everything was dry, the bindings were cut flush and scraped and sanded. Things were really starting to take shape. You can never have too many fretboards! Actually, you can. And I did along the way . . . As you can see by the photo on the left depicting four different (original included) fretboards, this was somewhat of a hit or miss prospect. I started out to make a walnut fretboard thinking that would be kind of neat to have the wood match the new trim.

But I had two failed attempts at reproducing the original. One was the direct result of trying to use a belt sander for a job that was "just too small". That's sort of like using a sledge to drive a finish nail. Then I made another walnut board, but afterall decided that either rosewood or ebony would be more appropriate. I have a small stockpile of Bolivian Rosewood (Pau Ferro, aka Machaerium spp.) and read that it is supposed to make a very nice fretboard, and as it turned out, it really did. After all the work involved in cutting the billet, cutting the slots, sanding the radius using a 12" radius sanding block, and finally installing the frets, it was quite a lengthy project. I took the additional time to bind the entire board with "ivroid" for a really finished look. I think it came out rather well. The next task, now that the body was ready, was to install the fretboard, which after much trepidation, turned out to be pretty simple. I used hide glue on the fingerboard.

But before gluing it, I inserted two very sharp pins that would dig into the neck from the underside of the board so that the glue would not make the fretboard "drift". The clamps were left on for 24 hours, and then it was left to really dry for a few more days before scraping down the excess glue and making sure that everything was even and smooth for final sanding before applying the finish. Fret leveling, crowning and polishing came next. Two passes were necessary to get it just right as shown in the photos. I reapplied clear sealer as some of it was stripped off from all the tape used in the fretting process. Final Finishing Finally, all of the tape was removed and the final 4 coats of lacquer were applied to the neck and head of the instrument. Then the balalaika had to sit for a week to cure before final buffing out of the finish could be done. This is when patience is called for, because the project is so close you just want to string it up and play it. After approximately 10 days I did the final fitting of the upper nut and the bridge, temporarily installed the tuners and strung it up for the first time in over a year.

The difference in the sound is difficult to describe, but it is wonderful. After stringing it up I took it upstairs to the empty living room where I'm putting the final finish on the new hardwood floor in the living room, so it has a nice 'echo'. The sustain compared to the original is markedly better, given that I don't recall there being all that much before. Perhaps the fact that the braces had both come loose and the soundboard was split into pieces was a contributing factor! I took all of the parts off and commenced to do the final buffing and polishing. Final Setup After buffing, I reinstalled everything and strung it up again. I even put the metal plate on the back of the headstock. But there was one more thing that was bothering me. The tuners just sit inside a cavity hollowed out of the back of the headstock and are not 'fixed' in place. They kept shifting down and applying a great deal of pressure on the back plate. I had to figure out a way to fix them in place but not permanently.

The wood is too thin to use screws or metal fasteners, so I cut a couple of small blocks of spruce that would fit very tightly in between the tuners and force fit them in place with some CA glue, clamped them down and they hold the tuner nicely in place. After reinstalling the back plate, which now fit flush on the back instead of being 'pressed', I could truly say it's done. But those old tuners really had to go, see The Search for new balalaika tuners below. A Case The only thing remaining was to do was to fix the old vinly/fabric carrying case that came with the balalaika when I got it. The zipper had broken many years ago and I took it to a local place called the "Zipper Hospital" but they said it couldn't be fixed or replaced. I bought a heavy duty zipper and was determined to do it myself. I sat down with my 100-year old Singer sewing machine, and although I'm no seamstress, I managed to install a zipper satisfactorily in about 20 minutes.

I then proceed to make a 'bag' to cover the balalaika to protect it when it's on the stand or going into the fabric case. I don't want to run the risk of scratching it. Later on I also learned that it was possible to purchase a much more substantial case, called the Balabag II , from an "import" company called Imperskay Music in New Jersey. Needless to say, I did! Although I hang on to the old vinyl one, the new case is padded, has many pockets, straps, etc. It's a major improvement. Gear | ibalalaika.com Gear Tweet The Gear I Use (and Other Recommendations) Several people have requested that I list the equipment I own. Below you’ll see the items I use along with other gear I recommend. Instruments Semyon Ivanovitch Nalimoff, No. 104, made in 1902 Andreas Gerth, No.

38, made in 2010 Strings 1st metal guitar string – 0.28mm/0.011”, 0.29mm/0.0115” – by Gospodin Muzykant Factory, Moscow, Russia. 2nd and 3rd – La Bella 3rd nylon guitar strings, High Tension Good strings are very important! They are the nerves of your balalaika. Over the years I have experimented with many different sizes and brands. Recently I switched to the Russian made “Gospodin Muzykant” brand. I find Russian-made first strings to be excellent, they sound great in concerts and on the recordings but they are hard to get in this country! But fortunately now you can get them right here on this site! The 2nd and 3rd strings are equally important! Sometimes, a mediocre balalaika can sound well if the strings are right. And the only way to find out what strings are good for you balalaika is to experiment with different kinds. It takes time and effort, but you will be very pleased with your instrument if you find the right stings.

Balalaika Case You want to protect your very valuable instrument. There are many cases available. For example, you can find them on eBay. You can buy there a Romanian made balalaika with a case for around $150. Throw out the balalaika and keep the case. Romanian made balalaikas are awful but the cases are okay. You can also buy a case from Imperskaya.com they are Chinese made (what is not nowadays?), but inexpensive and will do the job. If you are serious about protecting your instrument I would suggest THIS CASE which is made in Croatia by an artisan instrument case company and is what I would call the King Of All Balalaika Cases. Super durable composite material, flight reenforced, well padded, beautifully designed and superbly manufactured. You can get your own logo or a signature printed on a case. It comes in different colors, as well. Contact me directly for ordering. I have had this case for about three years now, and it has been through a lot of heavy duty traveling, rain and snow and still looks pretty much new. Did I say it was waterproof? Well, at least 95 % waterproof. It survived several rains and snow falls.

I have never had a heart to test it in the ocean for the sake of knowing if my balalaika will survive water landing. Amplification The Balalaika group The Balalaika group Balalaika Subcontrabass Different from the domra group, that plays the melodious role in the orchestra, the balalaika group can be characterised as the rhythmic and accompanying group. This group differs from the domra group by not using a plectrum on the instruments. With the exception of the balalaika bass and the balalaika contrabass on which you play with a leather plectrum, and the piccolo balalaika, where the playing method is the same as on the piccolo domra. In the following overview of the single instruments, the playing methods are also described as they are very different from one another. THE BALALAIKA PICCOLO Is tuned as follows: 1st string: A in second octave. – 2nd string: E in second octave. – 3rd string: H in first octave. See tablature Despite its’ small size, this instrument possesses a very big, penetrating tone.

At the same time, it is very comfortable to play on, and it offers the possibility of executing run and different kinds of virtuous character in a fast speed. However, the instrument is rarely used and usually only in small ensembles with pure balalaika instruments. THE BALALAIKA PRIMA Is tuned as follows: 1st string: A in first octave. – 2nd string: E in first octave. – 3rd string: E in first octave (the 2nd and 3rd string are tuned the same way). See tablature 1st string A is made of steel and 2nd and 3rd are made of gut or nylon. The clang colour is soft and it veils the metallic clang of the domra. The technical possibilities are many on this instrument and they offer a virtuous play in a fast speed. The playing methods on the balalaika Prima are different. These are the most important ones: To Strum – is the most characteristic methods. It consists of regular and monotonous beats with the right hand index finger over all the strings, by turns up- and downwards. The Tremolo consists of fast up-and down beats with the right hand index finger.

It can be used both to play an all strings and on one single string. The beats must be of equal power up- and downward. The tremolo can be interrupted after every note (detache). This is indicated with a short line over or under the note. The tremolo can also combine several notes and even bars (legato). This is shown with a curved line over or under the notes and the line is called the liga. The Pizzicato– here you use your right hand thumb to downward beats and your right hand index finger to upward beats by turn. Single beats over all strings (at for instance accompaniment). Vibrato – where you vibrate on the string behind the chair besides the right hand palm. Left hand Pizzicato – where you pluck the strings with your left hand. This is shown with a little cross above the note. Besides these methods, there is the Glissando, where you glide from one tone to another and the Flageolets where you make the major tones with an easy touch of the strings on the points where it is divided in two, three and four equal parts. This is shown with an “o” above the note.

The left hand thumb strikes the 3rd string whereas the other fingers strike the 1st and the 2nd string. The balalaika prima plays many different roles in the orchestra such as variations and run and harmony clang, accompaniment, the melody handling – independently or together with the domra prima. Often, the balalaika prima is used to play solo. (The composer S. Wasilenko has written a concert for the balalaika prima with symphony orchestra). THE BALALAIKA SECUNDA Is tuned as follows: 1st string: D in first octave. – 2nd string: A in minor octave. – 3rd string: A in minor octave (the 2nd and 3rd string are tuned in the same way). The most important playing methods on a balalaika Secunda is: Single beat with the right hand thump on one single string or on all the strings. Tremolo with the right hand index finger over all the strings. Arpeggio. When the tremolo method is to be used on one single string, it is permitted to use a plectrum (in leather preferably). The balalaika secunda is an overall accompanying instrument.

THE BALALAIKA ALTO Is tuned as follows: 1st string: A in minor octave. – 2nd string: E in minor octave. – 3rd string: E in minor octave. (The 2nd and the 3rd string are tuned in the same way). The playing methods are the same as for instance the balalaika secunda, and the balalaika alto is also an accompanying instrument. THE BALALAIKA BASS Is tuned as follows: 1st string: D in minor octave. – 2nd string: A in major octave. – 3rd string: E in major octave. See tablature The playing method: Single beats downwards with a leather plectrum except of the tremolo and the arpeggio. The function in the orchestra: Execution of the bass clang in a harmony and now and again execution with other bass instruments of the melody voice. THE BALALAIKA CONTRABASS Is tuned as follows: 1st string: D in major octave. – 2nd string: A in contra octave. – 3rd string: E in contra octave. See tablature The playing method is the same as the playing method of the balalaika bass.

However, the arpeggio is not used here. To obtain a harmonious and powerful tremolo without rattling, it is recommended to use a big and solid leather plectrum. The balalaika contrabass is the foundation of the orchestra and its’ harmonious and rhythmic support. The balalaika contrabass plays the same role in the orchestra as the bass. THE BALALAIKA SUBCONTRABASS Is an enlarged copy of the balalaika contrabass with a bigger and more voluminous clang. Atmosphere, playing method and function are the same as the contrabass. All information is from the following sources: V. Andrejeff: “Russisk folkeorkester”, Petrograd 1913. N. Retjmenski: “Folkemusikinstrumenterne”, Moscow 1956. V. Avksentjeff: “Orkester af russiske folkeinstrumenter”, Moscow 1962 and Evgeni Pavlovski’s own experience, as described in “Balalaika Blade” from 1963 to 1971, publiced by Evgeni Pavlovski.

Language Russian Duo - Instruments Instruments Instruments Balalaika Балалайка The balalaika is a wooden, three-stringed instrument of Russian origin, with a characteristic triangular body. The balalaika is played by strumming and plucking with the fingers of the right hand. An important part of balalaika technique is the use of the left thumb to fret notes on the bottom string, where it is often used to form chords. There are many theories about the origins of balalaika and how it developed into it’s triangular shape. In any case, the first written record was in 1688. The balalaika was supposed to be invented by peasant serfs to relieve their hard living under cruel landlords. Gradually the instrument spread among peasants and skomorokhi (wandering minstrels and jesters) who traveled all around the vast expanses of Russia. Skomorokhi performed at fairs, using their ballads to poke fun at church and state. Tsar Alexei Mikhailovich issued an order to burn all balalaikas, domras, horns and guslis, or punish those who would not yield.

Although the repressions ended with the Tzar’s death, balalaikas did not achieve their former popularity until the mid 19th century, with Vassily Andreyev, a violinist, composer and arranger. One day as Vassily Andreyev, a young nobleman, was walking in his estate he heard his house-serf playing the balalaika. He was astonished at the unusual sounds of the instrument as he considered himself a connoisseur of Russian folk instruments. He began to learn how to play it and realized how much potential the instrument held. He set to work perfecting and standardizing the balalaika and even went to St. Petersburg to ask the violin master Ivanov for advice. At first Ivanov refused to make a balalaika, but after listening to Andreyev’s masterful performance, he could not resist. It was long, hard work but eventually they created an improved balalaika. Andreyev’s vision was to bring the balalaika back to the folk and popularize it. On his initiative all the soldiers serving the army were given balalaikas which they took with them after retiring from the army.

In this way balalaika again spread all around Russia and became a popular instrument. With the help of master instrument makers, Vassily Andreyev created a family of balalaikas, like in a string quartet. There are six sizes - piccolo, descant, prima, secondary, alto, bass, and contrabass. These instruments formed the basis of the Great Russian Orchestra, which later toured in many countries of the world to glorify the balalaika and Russian culture. Treschyotka Трещётка The Russian folk music instrument treschyotka is a kind of rattle which produces a variety of percussion sounds. It is formed from many wooden slats threaded together on a string. Treschyotkas were often used in wedding ceremonies and were decorated with ribbons, flowers and sometimes little bells. Their use in weddings suggests that perhaps the instrument also served a mystical function of protecting the newlyweds from evil spirits. In some villages people still keep the tradition of playing and making treshyotkas. Treschyotka should be made of completely dry wood, preferably oak – this is what provides musical qualities of the instrument.

In order to produce diverse sounds and rhythms, hold the string, stretch it like an accordion, then then squeeze the slats together. Try with different forces and vary the angle of the slats. Lozhky Ложки From ancient times, Eastern Slavic people used percussion instruments for war, hunting, in rituals, for singing and dancing. In the 19th to early 20th centuries, choirs and folk instrument ensembles used spoons in elaborate stunts. Spoon players performed solo, accompanied singing and dancing, or were part of various ensembles. Musical spoons are made of harder wood than regular table spoons, often have longer handles and the ladle part has a polished surface. Sometimes jingles are attached to the handle. A set of spoons can have 2, 3 or 4 spoons of a different sizes in order to create different pitches. There are many techniques and tricks for playing spoons. To play them put two between the fingers of your left hand, and hold the third one in your right hand. Hit the first two spoons with the third one. Slide each strike from one spoon cup to another, then clap the two left hand spoons together.

Buben Бубен Buben, or tambourine, is a hand-held percussion instrument with a narrow round frame and a membrane (rawhide or manmade) stretched over one side. Little bells, or pairs of jingles may be attached in the slots of the frame. Buben were widely used by skomorokhi (wandering minstrel-clowns) and bear tamers. Virtuoso buben players did all sorts of tricks: they could toss it up in the air and catch it, bang it on their knee, head, chin or nose. Of course they beat it with their hands, elbows, fingers, shaking and rattling it, all while singing and dancing. Zhaleika Жалейка The Jaleika is a wind instrument with a single reed inside the mouthpiece, and finger holes to make different pitches (like a recorder.) It has a raucous, jaunty sound, takes a lot of air pressure to get a sound, and is often used to highlight melodies.

Kolokolchiki Колокольчики Kolokolchiki is the plural of bells.The horses wear jingle bells, called bubenchik (like the jingles on the tambourine, or buben), on leather harnesses strapped around their necks, heads, bodies, chests and rumps. On the wooden structure over the center horse (called duga), there are three tuned kolokochiki hanging to let everyone know the troika is coming. Bell Колокол For hundreds of years, since Old Rus, bells have been considered to be special. Some people even consider them to be singing icons - a bell is the voice of God. Many legends tell about bells having magic and supernatural abilities, such as foretelling and averting danger. Bells were blessed before they were used. Some stories tell about ringing bells to ward off diseases, storms, thunderbolts, or a devil’s plot. Bells of all sizes express the gamut of emotions - from weeping and moaning, to celebrating and praying. The way you strike the bell (technique), the patterns of rhythms, and how many differently pitched bells will give the listener a specific message.

Zvon is the Russian word for ring, toll or peal. russianduo@hotmail.com 216-932-5825

Question: How many strings are there on a balalaika?
Answer: 3